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IMAGE ANDRESEARCH

12 INTERNATIONAL CONFERENCEGirona. 20-23 November 2012

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IMAGE AND RESEARCH12 INTERNATIONAL CONFERENCE

Once again, we present the proposal of contents that we developed for the 12th IMAGE AND RESEARCH Congress.

The two-days meeting in Girona is for all of us a good opportunity to be in contact with colleagues with different backgrounds, but with a shared interest: the photographic and audiovisual documentation.

The organization thank you for your loyalty and we hope to live up to your expectations.

WORkSHOp

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She has a Degree in Advertising and Public Relations from the Complutense University of Madrid, and an Advanced Studies Diploma from the University of Barcelona. In 2004 she received a grant from the La Caixa Foundation and the International Council for Canadian Studies to take a Master’s Degree in Photographic Preservation and Collections Management given by Ryerson University and George Eastman House (Toronto, Canada / Rochester, New York, USA). The programme included stays at the Museum of Contemporary Photography in Milan, Italy, and the National Gallery of Art in Washington DC, USA. Currently she is writing her doctoral thesis at the University of Navarra on managing photography collections in art museums, while also working as a collections consultant in the field of preservation and digitalization.

THE pREpARATION OF pHOTOGRApHIC ORIGINALS FOR DIGITALIZATION

The workshop aims to look at, among other things, the reasons that justify digitalization, and the most common specific problems encountered during photographic processes in archives and collections, while proposing valuation measures along with recommendations before and after the digitalization process. Finally, the participants will generate a typical file in which all the necessary data for the process can be found (metadata, software, firmware, etc.), bearing in mind other pioneering initiatives such as SEPIADES.

ANGÉLICA SOLEIMAN

pApERS

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He is founding Director of New York University’s Moving Image Archiving & Preservation masters degree program. Previously, Besser was a UCLA Professor of Library & Information Studies, where he taught and did research on multimedia, image databases, digital libraries, metadata standards, digital longevity, web design, information literacy, distance learning, intellectual property, and the social and cultural impact of new information technologies. He has also been in charge of information technology for two art museums. He has published more than 40 articles on various aspects of information studies, most of them focused on issues of still or moving images. And in 2009 he was named to the Library of Congress’ select list of “Pioneers of Digital Preservation”.

pREpARING THE NEXT GENERATION OF AUDIOVISUAL ARCHIVISTS: LESSONS FROM NEW YORk UNIVERSITY’S MOVING IMAGE ARCHIVING & pRESERVATION pROGRAM

For ten years New York University’s Moving Image Archiving and Preservation program has been training students to manage and preserve collections of audiovisual material. This paper describes the program, looking particularly at how it trains people to manage in a rapidly-changing digital environment.

HOWARD BESSER

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He teaches Photography History and Criticism at the University of Tuscia (Viterbo) and formerly at the University of Rome Sapienza. He also teaches Visual Arts and Portfolio Structuring at Scuola Romana di Fotografia and Officine Fotografiche (Rome). He is the author of: Photographic Arts of the 20th Century (2008); “Photography” in Italian Encyclopedia Treccani XXI Century (2007); Reading Photography – Observation and Analysis of Photographic Images (2nd enlarged edition 2006); Photography<Art<Thought (2002); Fototensioni – Art & Aesthetics in Photographic Researches at the End of Millennium (1999). Art critic and curator, he contributed for: Aperture (New York), HotShoe (London), Eyemazing (Amsterdam), Muse (Milan), Around Photography (Bologna), FotoCult (Roma).

ANALYSIS AND INTERpRETATION OF THE pHOTOGRApHIC WORk AS FOUNDATIONS FOR ITS STUDY AND DOCUMENTATION

Photographs cannot be examined from any unbiased perspective: interpretation is entailed by every use of photography, pointless ones included. Both historical and contemporary practices compel scholars to consider within the textual unity of the photographic work not only series and sequences, but also such diverse elements as matters, inscriptions, installations, networks etc. A four-areas analysis focussed on contexts, contents and forms - both in physical terms and in terms of style - provides a holistic method of interpreting photographs in a self-aware and flexible way.

AUGUSTO pIERONI

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He is a conservator of cultural assets specialized in the conservation and restoration of photographs and printed images. Born in Barcelona, he studied Photography at the Institute of Photographic Studies of Catalonia (IEFC, Barcelona, 1986), and Art History at the Autonomous University of Barcelona (UAB, Bellaterra, 1994). In 1995 he moved to Paris, where he continued his studies, being awarded a Diploma in Museum Studies at the Louvre School (1996), and a Diploma in Restoring Heritage, specializing in photographs (National Heritage Institute, 1996-2000). He has been on research stays at the Metropolitan Museum of Art and George Eastman House. Since 2002 he has combined work as professional restorer in the private sector (COREBARNA, SL) with teaching in specialized centres, historical research and the publication of educational articles on photography and conserving cultural heritage.

REFLECTIONS ON THE HISTORY OF THE RESTORATION AND CONSERVATION OF pHOTOGRApHS

Over the last thirty years, the conservation of photographs has become one more specialized branch of the conservation of cultural assets. This evolution and consolidation has come about thanks to a world-wide awareness of the historic and aesthetic value of original photographs, their economic value and their fragility. This awareness began in the United States in the 1970s when, based around the Eastman Kodak Company and the George Eastman House International Museum of Photography and Film in Rochester, New York, a number of professionals created a group interested in the conservation of photographs taken with outdated techniques and research into their preservation. At the same time, and during the 1980s, France was going through a period of recognizing the heritage value of photography and photography collections were included in museums. Public bodies at the time created the necessary conditions, human resources and infrastructure for managing and conserving collections. In Catalonia, a country with a rich photographic legacy that is not exploited to the full, the discipline hardly exists and public bodies are not convinced of the importance of recognizing the heritage value of photography by providing collections of reference with the required resources in terms of facilities and specialized personnel.

pAU MAYNÉS

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He was a professional photographer for more than fifteen years. His worked mainly consisted of book illustration, industrial photography, the reproduction of artwork and advertising. He has always taken a personal interest both urban and natural landscapes. A Photography Graduate from the Polytechnic University of Catalonia (UPC), since 1996 he has focussed exclusively on teaching, giving courses in Technology and Quality at the Image Processing and Multimedia Technology Centre (CITM) at the UPC’s Terrassa Campus. Since 2003, he has been the coordinator of the Image Quality Laboratory (IQL) at the CITM. IQL is an experimental and research laboratory that works on measuring quality and image processing. He has been a member of SPIE since 2010.

TECHNOLOGICAL INFRASTRUCTURE AND pROCEDURES FOR DIGITISING pHOTOGRApHIC ARCHIVES

The paper takes us through the various stages in the digitalization of original photographs with regard to choosing equipment, calibrating instruments, capturing and processing images, preparing archives for final applications and the usefulness of training in these various areas, as well as establishing work protocols.

CARLES MITJÀ

ROUND TABLE

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SR. JORDI LLUíS FORGAS FOLCHJudge

SR. pEp MATASLawyer

SR. LLUíS SALOMThe Sindicat de la Imatge UPIFC

SR. JOAN BOADASDirectorate of The Centre for Image Research and Diffusion (CRDI)

SR. DAVID IGLÉSIASRapporteur of the on-line debat

Chair:ELISENDA VIDALJournalist

WHAT IS THE ARCHIVES pOSITION IN FRONT OF LEGAL UNCERTAINTY OF MERE pHOTOGRApHS?

pRESENTATIONS

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ARCHIVING MEDIA FROM THE ‘OCCUpY’ MOVEMENT: METHODS FOR ARCHIVES TRYING TO MANAGE LARGE AMOUNTS OF USER-GENERATED MEDIA

The “Occupy” movement that emerged in the US in the Fall of 2011 grew rapidly by posting both text and audiovisual works on online sites that would likely disappear. This paper details the efforts of archivists to preserve Occupy’s audiovisual material, and serves as a lesson for any archive trying to preserve and manage large amounts of user-generated media.

HOWARD BESSER

He is founding Director of New York University’s Moving Image Archiving & Preservation masters degree program. Previously, Besser was a UCLA Professor of Library & Information Studies, where he taught and did research on multimedia, image databases, digital libraries, metadata standards, digital longevity, web design, information literacy, distance learning, intellectual property, and the social and cultural impact of new information technologies. He has also been in charge of information technology for two art museums. He has published more than 40 articles on various aspects of information studies, most of them focused on issues of still or moving images. And in 2009 he was named to the Library of Congress’ select list of “Pioneers of Digital Preservation”.

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He was, until December 2011, the archive preservation specialist in the BBC Research and Development department in London. He has 20 years of experience of broadcast archive technology and digiti-sation, working with the one million hour BBC archive, and working in collaborative projects with other audiovisual collections across Europe. He is a signal processing engineer with a PhD from the Uni-versity of Southampton, and has been working on digital audio and video for more than 40 years. He was the BBC project manager on EC project prestopRIME (digital preservation), and before that on prestoSpace and presto, which were both about audiovisual digi-tisation – and about the preservation factory approach to efficiency. He developed the Preservation Guide a “Google Number 1” covering audiovisual preservation.

pRESTOpRIME: DIGITAL pRESERVATION OF AUDIOVISUAL MATERIALS

Sound and moving image content is a record of the events of the 20th Century, the first century to have a record that lets us see and hear the past. The audiovisual industries of cinema, broadcasting and commercial music are major parts of popular culture and of all of our lives. Many millions of hours of this content has been archived, and many more millions have been lost. These archives have never had wide access, and now all their content must be digitised to survive or to become accessible. This talk will describe European activity to preserve and open up this important heritage.

RICHARD WRIGHT

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She is the General Manager of Parisienne de Photographie, the company in charge of digitization and management of reproduction rights of the City of Paris’ photographic and iconographic collections. Nathalie Doury holds a Bachelor ‘s degree in Business Administration from ESSEC business school and specialized in management of cultural organisations at the University Paris-Dauphine. Following a 10-year experience in the cinema exhibition and distribution business, she joined Parisienne de Photographie upon its creation in 2005 to establish the structure, negotiate contractual relationship with the City & set up operational processes.

DIGITIZATION OF CULTURAL HERITAGE: (DESpERATELY) LOOkING FOR A VIABLE BUSINESS MODEL. pARISIENNE DE pHOTOGRApHIE, A CASE STUDY Digitizing cultural holdings and making them available to a wide public in a context of, at best, stable and more realistically, diminishing, public resources is one of the many challenges faced by cultural institutions in the early 21st Century. The paper will focus on the unique business model developed by Parisienne de Photographie, a French local semi-public company (“Société d’Economie Mixte”) set up and controlled by the City of Paris to reproduce the photographic and iconographic collections held in the City’s museums and libraries, among which Musée Carnavalet, Petit Palais , Paris Museum of Modern Art, Paris Historical Library, Victor Hugo’s House, etc. The collections also include the Roger-Viollet photographic archive, which had been bequeathed to the City of Paris in the mid 80’s.

NATHALIE DOURY

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She is Media Archive Consultant and chair of the Federation of Commercial Audio Visual Archives (FOCAL International) a leading body in the audiovisual archive business and also works for FIAT/IFTA as director of conference content. Sue is also secretary of the BECTU History Project and a member of the Royal Television Society’s History group. Formerly Head of the BBC’s Broadcast Archives, Sue currently works as an independent media archive consultant. Sue has a wide range of archive work experience: information management, acquisition, technical preservation, selection policies and processes. She is also an experienced programme research in the BBC Current Affairs and Documentaries production departments.

THE ROLE OF FOCAL INTERNATIONAL IN SUPPORTING AUDIOVISUAL ARCHIVES TO MEET THE COMMERCIAL BUSINESS CHALLENGES

A presentation about the activities of FOCAL International (The Federation of Commercial Audiovisual Archives) and the commercial aspects of the audiovisual archive business. FOCAL is an international organization that represents over 150 audiovisual libraries/archives throughout the world. We offer a support service to archives with regard to commercial issues, copyright, preservation and training requirements. Recent proposals in IPR protection are likely to have a considerable effect on the commercial use of audiovisual archives and therefore future developments in this sector which will be included in the presentation.

SUE MALDEN

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pRESENTATIONS OF pApERS

La dona eivissenca. Una visió d’avantguardaCatalina Aguiló, Maria José MuletUniversitat de les Illes Balears

L’avaluació i tria de fons fotogràfics digitals. Estudi de cas del fons del fotògraf Efren Montoya a l’Arxiu Històric de SabadellPatricia Álvarez Martínez, David González Ruiz, Isabel Pardo NavarroArxiu Històric de Sabadell

Un aporte a la etnografía visual. procesamiento parcial del archivo Jehan VellardMaría Ana Baldani CámaraUniversidad Austral, Argentina. Facultad de Comunicación

Baldomer Gili Roig i la fotografia Oriol Bosch BausàMuseu d’Art Jaume Morera

La obra fotográfica de José SpreaficoJuan Antonio Fernández RiveroColección Fernández Rivero (CFR)

La memoria del trabajo en el Río Grande del Sur (Brasil) por la fotografía Francisca Ferreira Michelon Universidad Federal de Pelotas, Brasil

La degradació dels suports plàstics anteriors a 1950 als arxius fotogràfics. Un estudi de camp a Catalunya que ofereix dades per a establir polítiques de preservacióLaia Foix NavarroInstitut d’Estudis Fotogràfics de Catalunya

Anem a cal fotògrafMaría de los Santos García Felguera, Núria F. RiusUniversitat Pompeu Fabra, Departament d’Humanitats

Sauver le patrimoine vidéo de la ville de Genève: entre action, pragmatisme et douteDidier GrangeArchives de la Ville de Genève

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Huellas de luz. Experiencia y reflexiones metodológicas sobre documentación y puesta en accesoAndrew Green, Lourdes RocaInstituto Mora – México

prevenir la amnesia colectiva: el acceso público a los archivos de televisiónPaloma Hidalgo GoyanesUniversidad Complutense de Madrid – Facultad de Ciencias de la Información

La definició d’un mapa d’informació conceptual per a la gestió de l’arxiu digitalDavid Iglésias FranchCentre de Recerca i Difusió de la Imatge

Aplicación del software IcaAtom para la descripción y publicación web del archivo fotográfico del Centro de Tecnología de la Imagen (CTI) de la Universidad de Málaga (UMA)Mercedes Jiménez Bolívar, Javier Ramírez González, José Manuel Ramos GuazCentro de Tecnología de la Imagen (CTI) de la Universidad de Málaga (UMA)

Els fons fotogràfics de la Biblioteca de CatalunyaRicard MarcoBiblioteca de Catalunya

La confianza visual: los archivos decimonónicos como patrimonios nacionalesZenaida OsorioUniversitat Autònoma de Barcelona

El procedimiento a dos tintas o de doble fondo de los Hermanos Crozat (1862): una de las principales aportaciones españolas a las técnicas fotográficas del siglo XIXM. José Rodríguez Molina, José Ramón Sanchís AlfonsoArxiu General i Fotogràfic de la Diputació de València, Arxiu Municipal de Torrent

Las fotografías “comprometidas” de Luis Escobar. Su rescate y valoraciónBenjamín Tébar TobosoCentro de Estudios de Castilla – La Mancha, Universidad de Castilla – La Mancha

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pRESENTATIONS ON THE TRIBUNE OF EXpERIENCES FORUM

La encrucijada de la conservación y la difusión: la gestión de la digitalizaciónM. José Badenas Población, José Luis Arcas, Fernando Ransanz, Alicia Pérez MartínMinisterio de Educación, Cultura y Deporte. Dirección General de Bellas Artes y Bienes Culturales y de Archivos y Bibliotecas

dFoto. Directorio de colecciones de fotografía en EspañaJosep Benlloch Serrano, Miguel García CárcelesUniversitat Politècnica de València

EUscreen, aparador del patrimoni audiovisual de la televisió a EuropaAlícia Conesa SantamariaTelevisió de Catalunya

L’Arxiu Fotogràfic del Museu Marítim de Barcelona. Com gestionar la fotografia de marSílvia Dahl TermensMuseu Marítim de Barcelona

Recursos per documentar fons fotogràficsCristina Feixas, Fina NavarreteCentre de Recerca i Difusió de la Imatge

Gestión archivística de fondos fotográficosMiguel García Cárceles

Creació d’un àlbum virtual de fotografies del fons Francesc Casañas RieraDavid González RuizArxiu Històric de Sabadell

La festa del peix a Banyoles el 1910, una recerca documental i fotogràficaGeorgina Gratacós TeixidorMuseu Darder – Espai d’interpretació de l’Estany

Josep Salvany. Vint anys compartint les seves fotografiesRicard MarcoBiblioteca de Catalunya

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presentació de FotoconnexióRicard MarcoFotoconnexió

Full de ruta d’una guia. Les fotografies de l’Arxiu fotogràfic del Centre Excursionista de CatalunyaSusanna Muriel OrtizCentre Excursionista de Catalunya

La sèrie documental “Fotografies”Núria Roca, Jordina SabataTV3, Televisió de Catalunya

Los fotógrafos de España en los anuarios y guías comerciales (1851-1936)M. José Rodríguez Molina, José Ramón Sanchís AlfonsoArxiu General i Fotogràfic de la Diputació de València, Arxiu Municipal de Torrent

Barcelona visual: un producte de l’Arxiu Fotogràfic de Barcelona per a dispositius mòbilsJordi Serchs, Montserrat RuizArxiu Fotogràfic de Barcelona

Los Legados de la Tierra, programa de recuperación del patrimonio fotográfico en Castilla – La ManchaBenjamín Tébar TobosoCentro de Estudios de Castilla – La Mancha. UCLM

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REGISTRATION - FEES

Deadline

26 October 2012.Registration for the Workshop is independent of registration for the Conference. Due to the limited number of places, people interested in participating in the Workshop will require prior confirmation of admission by telephone from the Conference Secretariat in order to register for this event.

Conference

· General registration 220 €

· Members of AAC, AMC, Sindicat de la Imatge UPIFC, CIA/ICA and Spanish associations of archivists 195 €

· Students at ESAGED and IEFC 170 €

All registrations for the Conference include 2 lunches and 2 coffe breaks.

Workshop

· General registration 180 €

· Members of AAC, AMC, Sindicat de la Imatge UPIFC, CIA/ICA and Spanish associations of archivists 155 €

All registrations for the Workshop include 1 lunch and 1 coffee break.

PAYMENT

Reduced FeesTo qualify for reduced fees, student status or membership in the aforementioned professional associations must be proven.

Deadline26 October 2012

Bank transfer in favour of Ajuntament de Girona (Girona City Council):

SWIFT: BBVAESMMXXXIBAN: ES 15 0182 5595 42 0201503131

CONFERENCE SECRETARIAT

Documentary Management, Archives and Publications ServiceCentre for Image Research and Diffusion (CRDI) Placeta Institut Vell, 117004 GironaTel. +34 972 22 15 45 - Fax +34 972 20 26 94 e-mail: crdi@ajgirona.org

REMARkSSimultaneous interpretation service.The Workshop sessions (20 and 21 November) will be held at the Centre for Image Research and Diffusion -CRDI (Placeta Institut Vell, 1).The Conference sessions (22 and 23 November) will be held at the Girona Conference Centre (Passeig de la Devesa, 35).

You can register for these events at our website:http://www.girona.cat/sgdap/cat/jornades_presentacio.php

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